NY ESSENTIALS: TOP ART SPRING 2013 UPDATED!
Tuesday, May 7, 2013
, Posted by LATINO EVENTS Y TESPIS MAGAZINE at 9:01 PM
UPDATED!
PRIMAVERA!!!!!!! y Top Art es la perfecta combinación para una temporada plena en Nueva York. Aqui les tengo las recomendaciones actualizadas para el resto de la temporada: La Biblioteca Pública de NYC presenta Back Tomorrow en honor a Federico García Lorca y su Poeta en Nueva York; Velasquez en todo su gloria se presenta en el Museo Metropolitano; La relación entre Solar y Borges se analiza en la Americas Society y Superreal continua en El Museo del Barrio.
PRIMAVERA!!!!!!! y Top Art es la perfecta combinación para una temporada plena en Nueva York. Aqui les tengo las recomendaciones actualizadas para el resto de la temporada: La Biblioteca Pública de NYC presenta Back Tomorrow en honor a Federico García Lorca y su Poeta en Nueva York; Velasquez en todo su gloria se presenta en el Museo Metropolitano; La relación entre Solar y Borges se analiza en la Americas Society y Superreal continua en El Museo del Barrio.
El Museo del Bronx celebra sus 40 años de fundado con Honey, I Rearranged The Collection; American Legends: From Calder to O’Keeffe sigue en el Whitney y en el Frick veremos a Piero della
Francesca, figura fundacional del Renacimiento. La Galería Magnan Metz
presenta a Alexandre Arrechea al aire libre, en el Mall de la Park
Avenue.
También
siguen: Picasso Black and White, presentando una faceta poco conocida
del maestro español, se encuentra ahora en Houston y Manolo Valdés sigue en el Jardín
Botánico.
LO NUEVO
* Back Tomorrow: Federico García Lorca / Poet in New York > New York Public Library > Hasta Julio 20 > Lorca.
In June 1929, at a time when young writers and painters dreamed of living in Paris, Federico García Lorca (1898–1936), Spain’s greatest modern poet and playwright, broke boldly with tradition and sailed for New York. His nine months here, followed by three months in Havana, changed his vision of poetry, the theater, and the social role of the artist.
Lorca came to New York to study English but devoted himself instead to writing Poet in New York, a howl of protest against racial bigotry, mindless consumption, and the adoration of technology. “What we call civilization, he called slime and wire,” the critic V. S. Pritchett once wrote. But Lorca’s book reaches beyond New York—“this maddening, boisterous Babel”—into the depths of the psyche, in a search for wholeness and redemption.
In 1936, the poet left the manuscript of Poet in New York on the desk of his Madrid publisher with a note saying he would be “back tomorrow,” probably to discuss final details. He never returned. Weeks later, at the outbreak of the Spanish Civil War, he was brutally murdered by fascist elements in Granada, his body thrown into an unmarked mass grave. The book was published posthumously in 1940, but the manuscript mysteriously disappeared, lost to scholars for decades. The Fundación Federico García Lorca in Madrid and The New York Public Library exhibit it now for the first time, together with drawings, photographs, letters, and mementos—traces of a Poet in New York . . . and of New York in a poet.
Foto: Federico García Lorca, Animal fabuloso
dirigiéndose a una casa / Fabulous beast approaching a house, India ink
and colored pencil on paper, 1929–30, Colección Gloria García Lorca,
Madrid
* A Common Homeland: Delibes Illustrated > Hasta Mayo 23 > Instituto Cervantes > Delibes.
* ALEXANDRE ARRECHEA : NO LIMITS > Park Avenue Malls > Hasta Junio 9.
 |
Rendering of the Seagream Building in Alexandre Arrechea's
2013 No Limits series for Park Avenue Malls. |
Playing
on the idea of elastic architecture as a metaphor for the challenges
and opportunities of shifting conditions and new realities, No Limits
will present 10 massive sculptures embodying New York's most prominent
buildings. Iconic landmarks represented will include: the Chrysler
Building, Citicorp Center, Empire State Building, Flatiron building,
Helmsley Building, MetLife Building, Metropolitan Life Insurance Company
Tower, Seagram Building, Sherry Netherland, and US Courthouse. The
sculptures, which will appear to roll, wind, and spin their way down
Park Avenue from 53rd to 67th Street, will reach towering heights of up
to 20 feet.
Throughout
his work, artist Alexandre Arrechea uses sculpture, watercolor and
video to ponder the idea of destabilizing traditional concepts held
about icons and their function in society. The art is meant to create a
dialogue with the public that raises questions of control, power,
surveillance and one's role within these categories. Through iconic
architectural buildings and urban spaces, Arrechea plays and entices the
viewer to explore this concept.
ALSO: Sofia Maldonado : World Crisis > Magnan Metz Gallery > Abril 25 - Junio 1.
* Velázquez's Portrait of Francesco I d'Este > A Masterpiece from the Galleria Estense, Modena > April 16–July 14 > Met Museum > Velazquez.
Velázquez
(Diego Rodríguez de Silva y Velázquez) (Spanish, 1599–1660). Duke
Francesco I d'Este, 1638. Oil on canvas. Galleria Estense, Modena © su
concessione del Ministero per i Beni e le Attività Culturali.
* Xul Solar and Jorge Luis Borges: The Art of Friendship > Abril 18 - Julio 20 > Americas Society Gallery > ASG.
This will be the first solo exhibition in New York dedicated to painter, writer, and occultist Xul Solar, born Oscar Agustín Alejandro Schulz Solari (1887-1963). The show will offer an in-depth examination of the public and private aspects of Solar's long friendship and vigorous exchange of ideas with famed writer and fellow Argentine Jorge Luis Borges. The central concept of the exhibition will explore how a friendship—a private, intimate affair—can affect public cultural and intellectual discourse. Solar and Borges' influences on each other led to groundbreaking artistic work produced by them individually and collaboratively. The exhibition will feature a selection of Xul Solar's exquisite early paintings as well as collaborative publications, translations, objects, and artistic interventions in books by the two friends. Public programs will include cross-disciplinary events and a panel discussion featuring Maria Kodama, Sergio Baur, Patricia Artundo, and Silvia Molloy, as well as poetry readings by Lila Zemborain and Cecilia Vicuña. Americas Society will also produce a fully illustrated publication to accompany the exhibition.
Solar and Borges met in 1924 after both had independently traveled throughout Europe where they spent a decade after World War I, and returned to Buenos Aires just when a literary and artistic avant-garde movement was beginning to take hold. They were part of the circle of writers and artists associated with the avant-garde magazine Martin Fierro, which was active until 1927. The martinfierristas were part of the Argentine generation whose artistic and political efforts were focused on defining and exploring their national identity through cosmopolitan means. They embraced a universal identity linked to Europe, but also sought to establish a uniquely Argentine national identity grounded in the rural mythology of the gauchos, the iconic Argentine cattlemen. These concepts are central to Borges' early work. Solar's paintings include a number of nationalist symbols dating back to pre-Hispanic times as well as words from two languages he invented to be Argentine, yet universal. Another major theme in Solar’s work is spiritualism and fantasy. He developed a method of painting with watercolors and crayons which he used to create colorful and fantastical works that blended metaphysical ideas about the invisible world with his interests in constructing a national identity and reinventing language.
* Darned Bodies : Josefina Concha > Hasta Mayo 11 > Galería Praxis Art > Concha.
Nature
is the main source of inspiration: its resemblance to the human body,
the exuberance of color and form, the vulnerability of live matter, the
visual and symbolic richness of the elements, these are the subjects
which inspire this body of work. By accumulation and saturation, the
thread acquires volume, giving birth to tridimensional forms and
infinite shades of color.
The sowing hands don’t try to control the shapes that they create, they become guardians of their quiet growth through the darning, allowing chance to intervene in the process.
ALSO: TIMETRACES > Esteban Pastorino > Mayo 16 - Junio 22.
Pastorino’s photos display the coexistence of technique, the conjuring-up of childhood, the doubt regarding the veracity of the original subject and a call to reflection on the scenery that surrounds us. Ultimately, they stand as a proposal to distort the representation based on cameras and lenses which provide a high level of hyperrealism and manage to achieve a high level of fiction. Every attempt to encompass and unveil what the human eye cannot see, drives us further away from reality. Thus, the stereoscopic techniques turn landscapes into unreal sceneries in which the first aspect that becomes visible is their theatricality. From this viewpoint, Pastorino’s work is in line with the perception of reality as an imitation upheld by postmodernism, maintains the allure of images and allows us to go a step beyond mere technical spectacularity, setting us into that territory of artifice, dreams and visions cherished by the Baroque. It even gives a twist to the famous statement by the American photographer Gary Winogrand, which has become a motto for many artists: “I photograph to see what the world looks like in photographs”. Pastorino seems to follow Oscar Wilde’s words, “The true mystery of the world is the visible, not the invisible”, down to the smallest detail. A suitable point of view or the right equipment will suffice to represent it as something alien to our inertial perception of things.
The sowing hands don’t try to control the shapes that they create, they become guardians of their quiet growth through the darning, allowing chance to intervene in the process.
ALSO: TIMETRACES > Esteban Pastorino > Mayo 16 - Junio 22.
Pastorino’s photos display the coexistence of technique, the conjuring-up of childhood, the doubt regarding the veracity of the original subject and a call to reflection on the scenery that surrounds us. Ultimately, they stand as a proposal to distort the representation based on cameras and lenses which provide a high level of hyperrealism and manage to achieve a high level of fiction. Every attempt to encompass and unveil what the human eye cannot see, drives us further away from reality. Thus, the stereoscopic techniques turn landscapes into unreal sceneries in which the first aspect that becomes visible is their theatricality. From this viewpoint, Pastorino’s work is in line with the perception of reality as an imitation upheld by postmodernism, maintains the allure of images and allows us to go a step beyond mere technical spectacularity, setting us into that territory of artifice, dreams and visions cherished by the Baroque. It even gives a twist to the famous statement by the American photographer Gary Winogrand, which has become a motto for many artists: “I photograph to see what the world looks like in photographs”. Pastorino seems to follow Oscar Wilde’s words, “The true mystery of the world is the visible, not the invisible”, down to the smallest detail. A suitable point of view or the right equipment will suffice to represent it as something alien to our inertial perception of things.
* superreal: alternative realities in photography and video > Museo de El Barrio > Hasta Mayo 19 > superreal.
This
exhibition explores the layered meanings and interpretations of the
real as it is represented in photography and video art. Drawing on the
presentation of the landscape, the human figure, the world of
architecture, various objects and natural phenomena, these images
explore alternative realities despite their use of the photographic or
video image, traditionally understood as a reflection of actuality.
superreal features works that challenge the notion of the camera’s lens
as presenting visual accuracy and explores the subversion of narrative
form, the creation of a parallel reality, surreal or super-real
encounters with objects, people and environments. Partial, hidden, or
enigmatic meanings are explored by the artists gathered here. Iconic
works by significant photographers and video artists are included along
with newer works by younger artists. The incisive points of view and
varied methodologies seen here allow the artists to create works that
explore the limits of narrative form and its relationship to reality.
The works, ranging in dates from the early 1960s to the present, reveal
the various ways in which the real is emphasized and subverted, revealed
and obscured.
Foto:
Betsabee Romero (Mexico, 1963)Ayate con Perro (Ayate fabric with dog),
2005. Chromogenic print, 22 x 40 in. El Museo del Barrio, Gift of the
artist and Ramis Barquet
Created
in 1986, the Bronx Museum Permanent Collection has assembled over the
years a remarkable group of artworks that convey not only personal
narratives but also incisive insights onto contemporary life. For this
exhibition, we took inspiration from Allen Ruppersberg's ongoing series
Honey, I rearranged the Collection initiated in 2000 and that puts in
check the role of institutions, curators and collectors as the bearers
of tradition and arbiters of taste. Overlaying different traditions,
styles, and narratives, Honey, I rearranged the Collection presents an
idea of museum as a restless play of combination.
Honey,
I Rearranged the Collection features artworks from the 40th
Anniversary's 40 Years, 40 Gifts campaign, which has received support
from Ford Foundation and the Jacques and Natasha Gelman Trust, as well
as individual funders.
Piero
della Francesca (c. 1411/13–1492), Madonna and Child Attended by
Angels, c. 1470s, oil (and tempera?) on wood transferred from panel, The
Sterling and Francine Clark Art Institute
Revered
in his own time as a "monarch" of painting, Piero della Francesca
(1411/13–1492) is acknowledged today as a founding figure of the Italian
Renaissance. The Frick Collection will present the first monographic
exhibition in the United States dedicated to the artist. It brings
together seven works by Piero della Francesca, including six panels from
the Sant'Agostino altarpiece — the largest number from this masterwork
ever reassembled. They will be joined by the Virgin and Child Enthroned
with Attendant Angels, his only intact altarpiece in this country. Piero
della Francesca in America is organized by guest curator and former
Andrew W. Mellon Fellow Nathaniel Silver. The related catalogue will
include essays by James Banker, Professor Emeritus, North Carolina State
University; Machtelt Israëls, Guest Researcher, University of
Amsterdam; Elena Squillantini, masters candidate, Università degli Studi
di Firenze; and Giacomo Guazzini, doctoral candidate, Scuola Normale
Superiore di Pisa.
Exclusive
to the Frick, where it will be shown in the Oval Room, this important
exhibition will also be accompanied by a rich and varied schedule of
lectures, gallery talks, and seminars.
Stuart
Davis (1894–1964), Owh! in San Paõ, 1951. Oil on canvas, 52 1/4 × 41
3/4 in. (132.7 × 106 cm). Whitney Museum of American Art, New York;
purchase 52.2. © Estate of Stuart Davis / Licensed by VAGA, New York, NY
American
Legends: From Calder to O’Keeffe showcases the Whitney’s deep holdings
of artwork from the first half of the twentieth century by the eighteen
leading artists: Oscar Bluemner, Charles Burchfield, Paul Cadmus,
Alexander Calder, Joseph Cornell, Ralston Crawford, Stuart Davis, Arthur
Dove, Charles Demuth, Marsden Hartley, Edward Hopper, Gaston Lachaise,
Jacob Lawrence, John Marin, Reginald Marsh, Elie Nadelman, Georgia
O’Keeffe, and Joseph Stella. Organized as one- and two-artist
presentations, this exhibition provides a survey of each artist’s work
across a range of mediums.American Legends is organized by Barbara
Haskell, Curator.
ON VIEW NOW
As
part of this rotating exhibition, works by these artists are on view at
the Museum through May 2013: Oscar Bluemner, Charles Burchfield, Paul
Cadmus, Alexander Calder, Joseph Cornell, Ralston Crawford, Stuart
Davis, Charles Demuth, Marsden Hartley, Edward Hopper, Jacob Lawrence,
Reginald Marsh, Elie Nadelman, Georgia O’Keeffe, and Joseph Stella.
MORE EXHIBITS
* Manolo Valdés : Monumental Sculptures > Hasta Mayo 23, 2013 >> The New York Botanical Garden > VALDES.
Drawing
inspiration from the natural landscape of the Botanical Garden, seven
towering sculptures by acclaimed Spanish artist Manolo Valdés showcase
the relationship between art and nature. The sculptures have been sited
to take maximum advantage of the Garden's dramatic views with special
attention given to the visual impact of the changing seasons. The artist
has designed the installation to include surprising changes in the
visual character of the sculptures throughout the seasons.
* HISPANIC SOCIETY >> Vision of Spain de Joaquín Sorolla > Permanent collection on view > Audubon Terrace > The Hispanic Society of America.
Vision of Spain. Detail. Joaquín Sorolla.
Marie-Thérèse, Face and Profile (Marie-Thérèse, face et profil)
Paris, 1931
Oil and charcoal on canvas, 111 x 81 cm
Private collection © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Photo: Béatrice Hatala
Paris, 1931
Oil and charcoal on canvas, 111 x 81 cm
Private collection © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Photo: Béatrice Hatala
Picasso
Black and White, the first major exhibition to focus on the artist’s
lifelong exploration of a black-and-white palette throughout his career,
will be presented at Museum of Fine Arts, Houston. The exhibition
features 118 paintings, sculptures, and works on paper from 1904 to
1971, and will offer new and striking insights into Picasso’s vision and
working methods. This chronological presentation includes significant
loans—many of which have not been exhibited or published before—drawn
from museum, private, and public collections across Europe and the
United States, including numerous works from the Picasso family.
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